Search Results: Authors starting with W from Vamp & Tramp, Booksellers, LLC

Milwaukee, Wisconsin:: redthreadletterpress,, 2013.. Edition of 20. 5" x 5.5"; 16 pages. Screenprinting, letterpress, and laser cutting. Rives BFK paper. Double-sided accordion. Ends slip into pastedown pockets of the boards. Bound in blue cloth with paper title label on front board. Signed and numbered by the artist. Melissa Wagner-Lawler: "In the event of moon disaster was a speech written by William Safire in 1969 for the President to read if the Apollo 11 mission was not successful and the astronauts were lost. This artist book uses segments of this text combined with maps from the landing site, traverse patterns of the moon, and star patterns of the night sky in July, 1969. The speech text is on the 'front' side of the book and the interior/'back' side of the book contains interpretive images of space and the destruction of the space craft." More from Wagner-Lawler: "The maps and images in the book are taken from NASA images and maps and… Read More

Milwaukee, Wisconsin:: redthreadletterpress,, 2013.. Edition of 5. Book 9.75 x 10.5"; 16 pages with four foldout pages. Printed using letterpress, monotype, and relief on Mulberry paper. Bound using pamphlet stitch to gray Rives BFK cover. Cover embossed with relief plates and letterpress printed. Laid in 10.75 x 11.5" cloth covered case. Paper title label on front of case. Colophon adhered to interior of case. Signed and numbered by the artist. Melissa Wagner-Lawler: "A Weak Sense of Direction is an abstract exploration of the journey of traveling by bicycle. There exist several similarities in riding a bike and experiencing art in a book format. While both can be experienced in a distinctly linear manner, one can also backtrack, slow pace, skim (speed up), follow pathways, or make one's own. For this reason, artist books are a natural format for my work.  "The specific event referenced in this work is the Riverwest 24, a 24-hour bike race that I participated in during… Read More

Milwaukee, Wisconsin:: redthreadletterpress,, 2022.. Edition of 10. 11" x 11" x 1.5" custom box containing triangular book. Toner transfer and gouache in a Wire Edge Binding. Letterpress printed using photopolymer plates on rive BFK heavyweights and lokta papers. Typeset in Charter Roman and Italic faces. Colophon presented on a triangular plate attached to inside of the box lid. Book rests in the tray triangle cavity. Trench underneath tray to serve as display area for book. Book and enclosure design by Melissa Wagner-Lawler. Signed by the artist. Melissa Wagner-Lawler: "'Low Tide' is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when… Read More

Milwaukee, Wisconsin:: redthreadletterpress,, 2016.. Edition of 10. 5 x 6" custom container with two books. Screen printing. Toner transfer. Digital Printing. Pamphlet: 4.4 x 5.5", 32 pages; paper-covered wraps; pamphlet stitch. Signed and numbered on the colophon by the artist. One sheet book: 4 x 5.5" closed, 16.75 x 11" open. Each book slips into a slot with finger hold. Container cloth-covered with magnet closure. Melissa Wagner-Lawler: "danven0701 is an artists' book that tells the story of two people searching for something. One is on a quest to find love, the other's search isn't as direct - as least initially. "This book explores romantic communication in the digital environment. Although online dating is not a new phenomenon, in recent years, online dating has been co-opted by individuals who portray themselves as others. This is known as 'catfishing,' while the person portraying someone else is referred to as a 'catfish.'… Read More

Milwaukee, Wisconsin:: redthreadletterpress,, 2013.. Edition of 5. 10 x 11"; 18 pages. Drumleaf binding. Printed in letterpress, relief, and monotype. Bound in paper over bookboard with matching pastedowns and cloth spine. Signed and numbered by the artist. Melissa Wagner-Lawler: "Using language as a primary visual element, the text in my work becomes abstracted through various digital processes. Cutting, masking, and layering techniques in Illustrator are used to destroy and manipulate it digitally. Printing, overprinting, and subtleties in ink are used to create a visceral, delicate surface on the page enticing the viewer to decipher the message. Is the language or message within the text important – and if it is important, why obscure it or make it difficult to read?  "In our current technologies, nothing created can ever be permanently erased – fragments of the information will always remain.

Milwaukee, Wisconsin:: redthreadletterpress,, 2019.. Edition of 15. 3.5 x 6" closed. Letterpress on Johannot paper. Bound in a Hedi Kyle panorama fold structure. Cover and colophon foil stamped on French paper. Signed and numbered by the artist. rredthreadletterpress: "This book explores the experience of being at Penland School of Craft and being immersed in the beautiful natural environment. Many that come to Penland are visitors and only spend a brief amount of time there, much like the wind exploring the natural elements of the landscape.

Milwaukee, Wisconsin:: redthreadletterpress,, 2019.. Edition of 30. 5 x 4.5" closed. Fishbone fold structure. Relief and letterpress printing on Rives Heavyweight paper. Signed and numbered by the artist. . redthreadletterpress: "This bookwork uses a fishbone fold structure from 'The Art of the Fold' by Hedi Kyle & Ulla Warchol. It is a response to my previous artist's book titled 'In the event of Moon Disaster' and shows the perspective of moon landing deniers."

Tucson, Arizona:: Beta Wehr,, 2002.. Edition of 50. 5.25 x 8" with 12 pages. Inkjet printed on Neehah Cover Laid paper. Self-enclosed carousel accordion. With metal object to adorn the front cover. In earlier works, Beata Wehr has used metal objects and fragments, she now devotes a whole book to them. The objects are disembodied from other parts that would render them useful, that would explain their functions, some whisper secrets of mechanization. Others are more familiar, like a single mitten clip for a child's coat, a small pulley, a rusted nail. A band of fabric bisects the spread horizontally. Metal and other objects - some natural like a pod, a feather - are sewn or otherwise anchored onto the red band and overflow into the white space. From the bottom of each spread, a pair of hands reaches up toward and behind the collage. The hands suggest creation, manipulation of the environment born of curiosity and need that grew, ultimately, into manufactured objects, literally man factum in… Read More

Santa Cruz, California:: Suzanne Thomas,, 2006.. Edition of 150. 2.9 x 3"; 17 pages. Miniature accordion of reproduced photomontage tipped onto handmade paper. Paper-covered boards with tipped on title illustration. Suzanne Thomas: "This book holds a very matter-of-fact poem about the assumptions people make. Text is composed from cut out letters pasted over photographs taken by [me], reproduced by color copying techniques." Text excerpt: “Just because I'm blonde, doesn't mean I'm easy … Just because I like to kiss, doesn't mean I'm a whore ...”

Santa Cruz, California:: Suzanne Weinert,, 2009.. Edition of 150. 2.25 x 2.75" ; 16 pages. Miniature. Case-bound accordion book. Collaboration between Tobias and Suzanne after the wedding. Text is from the journal of Tobias Weinert. Boards covered with map of Chile. Paper label title tipped on front board. Colophon: "The text was handwritten and handpainted. Sketches were done in Chile".  We drove home with a few "maybe tomorrows" and a "perhaps the beach break" afternoons.

London:: Bookery,, 2004.. Edition of 100. Production: cover: digital four colour printing; text: mono digital printing; matt laminate; perfect bound. This book explores the uncomfortable subject of suicide, the ultimate mal-adaptation to reality. In making a direct parallel between life and narrative, this book describes the baffling reality of a life cut short at the hand of its author. Taking as its starting point Freud’s writings in ‘Mourning and Melancholia’, it probes the shifting realities we encounter in extreme psychological circumstances: in this case, that of being in love, and of suicide. In both, we are subject to massive distortions of reality, and are temporarily or permanently overwhelmed by an external / internal object (person/thing) that is either to be enjoyed, or suffered. For the suicide, the ultimate solution is to do away with the oppressive internal object and so achieve a life on their own terms. Of course, a rather high price is paid in the achievement of… Read More

London, England:: Heather Weston,, 2005.. Edition of 150. 4.5 x 4.75"; 26 pages. Accordion fold with bound sections. Offset lithography, paper, book cloth and board in a gray leather slipcase. Titles embossed on slipcase. Explores the relationship between our bodies and minds within the context of the dominant philosophical paradigm: Descartes’ model of dualism, where the world is divided into polarized opposites - black and white, mind and body, right and wrong. The book structure is employed to question the validity of this extreme theoretical split so readily accepted within mainstream philosophical thought and theology. In creating a three way structure within the book, a middle ground is forged, articulating a different view point somewhere between black and white. Here subjectivity, perception and a far less certain view of the world allow for a "grey area" in which our minds and bodies can join up and represent the reality and complexity of a more holistic human condition.

London:: Heather Weston,, 2004.. Open Numbered Edition. Production: Offset lithography on paper; blind debossing; sewn nubuck. Achieving ‘separateness’ in infancy is one of the cornerstones of psychological development and relies on a firm adaptation to reality as presented through a healthy primary relationship (parent and child). Failure to achieve this can result in a debilitating range of psychological difficulties in later life. BOUND looks the structure of codependence and uses the single-section codex to explore the experience of psychological merger and separation. Central to this complex and private book is the concept of ‘imposition’ – how book pages are laid out and assembled for print – and its alternative meaning of ‘encroaching and burdening’. The book looks at what can go psychologically wrong within the parent-child relationship when the psychological reality that is imposed on the child is one of co-dependence. The result can be an eternal and… Read More

London, England:: Heather Weston,, 2007.. Edition of 150. 3 x 5.25"; 8 pages. Accordion structure bound into boards at end pages. Offset lithography on paper. Die cutting. Blind emboss title on front board. Bound in red book cloth on board enclosed by a white banderole with title. Once again, Weston transforms a complex psychological issue into the palpable reality of an artists' book. The subject is dark — self-harm — the experience is untidy and frustrating — as it should be. But if you have the patience, curiosity, and daring to see the experience through to the end — that is, to read the narrative — there is an uneasy sense of accomplishment, even hope. Heather Weston: "This book explores the complex subject of self-harm. Taking an issue that is both visually alarming and psychologically puzzling, the book engages with the experience of the powerless onlooker, as well as [with] the narrative of the self-harmer. Self-harm is often the result of… Read More

London:: Heather Weston,, 2005.. Edition of 150. 1.5 x 3.75"; 134 pages. Flip book. Offset lithography, paper and nickel binding screws. Explores the experience of lip reading. The book aims to challenge the hearing person's perceptions and assumptions about how we construct our verbal and visual world and how we make sense of the information available to us. It employs the naturally silent and yet verbal domain, as well as the variable pace that the reader can impose on the read, via the pace of the flick.The statement on the verso alludes to the idea that articulating words (in essence, turning the page more slowly) can aid in understanding (akin to a normal strategy of talking more loudly to a deaf person). The statement of the speaker is not revealed within the book, leaving a doubt in the reader's mind over whether they have understood as much as can be understood, reflecting the inexact science of lip reading. The actual spoken statement is this: "How would you cope with the… Read More

Tuscaloosa, Alabama:: Southern Pest Prints,, 2014.. Edition of 95. 4 x 6.5"; 6 panels. Double-sided accordion. Imagery originally drawn in ink then letterpress printed using photopolymer. Enhanced with lightly brushing charred wood, ink and water. Housed in pocket enclosure of handmade paper from cotton bedsheets. Numbered. Sara White: "A Family Attic was created in honor of a house that caught fire in my neighborhood in Alabama in 2014. Its text is an erasure poem extracted from a blurb about the event in the Tuscaloosa News. Imagery of items left at the scene were drawn from memory in ink.

Tallahassee, Florida:: Alluvium Press,, 2016.. Edition of 35. 4 x 8"; 6 panel accordion with sewn pamphlets in valleys of 4 folds. Printed 8-color letterpress on handmade cotton/abaca paper. Laid in letterpress printed chemise . Slipcased. Numbered. Sara White: "RIVERINE is an artist's book and fragmented essay about a riparian landscape in New Orleans, LA called the 'batture.' Accompanied by letterpress printed imagery and textures of industrial structures and nature that inhabit this landscape located between the man-made levee and Mississippi River along the margins of the city, the book's text shifts and flows with each page-turn. It pays homage to communities that have existed on the batture in homes on stilts throughout history and the liminal experience of living in a place that is neither water nor solid ground, undefinable and always changing." Colophon: "The photographs in this book were originally printed in These Were Our Homes, a pamphlet… Read More

San Francisco, California:: San Francisco Center for the Book,, 2010.. Edition of 100. 6 x 4" a set of 4 postcards and sheet of stamps. Postcards separated by perforation. Letterpress and pigments prints. Signed and numbered by the artist. In cellophane envelope. Gail Wight: "'Restless Dust Postcards' is the accompanying trade edition of 'Restless Dust'. It includes an accordion-fold set of four postcards separated by perforation. The postcards are letterpress and the sheet of stamps are archival pigment prints. Text and images come from the 'Restless Dust' book. The text of the book invites Charles Darwin's ghost to sail to present day San Francisco and wander with me through the greater Bay Area. The focus of the journey is three-fold: to celebrate Northern California's unique species; to examine Darwin's legacy and its impact on the Bay Area; and to acknowledge the fragile and endangered state of local flora and fauna, beleaguered by environmental… Read More

San Francisco, California:: Salt Point Press,, 2022.. Edition of 20. 5.5 x 7" closed, extends to 10 meter (64"); 80 pages. Accordion structure. Letterpress printed in Cochin. With illustrated paper wrapper. Archival pigment prints are on Canson Infinity Aquarelle. Letterpress pages at the beginning and end of the book are printed on Rives BFK with mulberry hinges. Housed in 8 x 8.25 x 3.25" clamshell box constructed of archival book board covered with pigment prints on Moenkopi kozo. Signed and numbered by the artist. Each box contains a unique piece of seaweed from the Pacific coastline in northern California. Salt Point Press: "'Copepodilia Collectanea' presents an imaginary menagerie of copepods - minuscule aquatic crustaceans - created using seaweed pressings. High resolution pigment prints of the pressings retain the textures and dimensionality of the original pressings. "Text by Melanie Stiassny, ichthyologist at the American Museum of Natural History,… Read More

San Francisco, California:: Salt Point Press,, 2022.. Edition of 1000. 10 x 8.25 "; 120 pages. Offset printing. Smyth bound, headbands, gilding. Debossed cloth hardcover. In illustrated paper wrapper. Press statement: "What might houseflies, who evolved 65 million years ago, look like 65 million years in the future? Wight created a series of prints in 2014 in which flies have evolved to mimic familiar flowers: daisies, calla lilies, tulips and astors. "Now, all sixty-four original prints have been gathered together in this gorgeous herbarium designed by Michelle Frey. With essays by Iain Boal and Meredith Tromble, this herbarium contains many additional photos, a conversation between Lawrence Weschler and Gail Wight, a Latin dictionary of flower names, and four full-bleed spreads of Wight's work Land of the Flies. "Filled with beautiful and detailed floral specimens, 'Hexapodarium' echoes the great botanical collections of previous centuries. Yet… Read More